With its labyrinthine structure, discursive storyline, and exploration of themes such as duality, reality, identity, and the nature of time, the movie is reminiscent of the great Argentinian writer Jorge Luis Borges
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Oldroyd pulls out all the stops and the three actresses complement one another so perfectly that we end up savoring 2023’s best scene.
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Fennell’s writing and directing are brilliantly inventive, with humor, tragedy, and horror mixing perfectly. She gets immense support from her cinematographer, Linus Sandgren, whose work here is truly breathtaking.
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And Henry gives a tour de force performance that matches his spine-tingling monologue in “If Beale Street Could Talk”. Like Lawrence he is one of the all-time greats.
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Plaza’s performance is something to behold. All of that nervous energy is now bursting out in a performance that is always true and believable.
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Albert Lewin directed his masterpiece, a superb adaptation of Oscar Wild’s “The Picture of Dorian Gray” with the beautiful Hurd Hatfield.
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“Gilda”: Rita Hayworth’s star-making performance, directed by Charles Vidor, with cinematography by Rudolph Mate and Jack Cole’s choreography.
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Stanwyck gives one of her most controlled, lethal performances, and Douglas’s debut is astonishing – he plays Walter as a man who has been dying for years, a man whose entire identity is built around Martha.
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Working with master cinematographer Lee Garmes, director Edmund Goulding produced one of the GREAT film noirs, a genre he had never worked in before and would never work in again.
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The story, which is based on the Leopold and Loeb case is irresistible. Granger and Dall are perfection and Jimmy Stewart is also amazing.
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The Red Shoes is also one of the richest queer‑coded films of the 1940s, and a queer‑theory framing doesn’t just “fit”; it clarifies the film’s emotional architecture. Anton Walbrook is magnificent as the queer impresario, and his performance is the major reason to see this movie. Along with George Sanders’ Addison DeWitt in All About Eve Walbrook’s Lermontov is one of the perfect queer-coded villains.
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“Adam’s Rib” boasts marvelous acting by Tracy & Hepburn, Judy Holliday, Jean Hagen, Hope Emerson, Tom Ewell and, as Amanda’s “gay best friend”, David Wayne.
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Bogart is superb, but it is Gloria Grahame who is the revelation – this is widely considered to be the finest performance of her career and she is sensational. As Laurel, she brings a weary, deeply nuanced vulnerability that perfectly balances Bogart’s aggressive volatility.
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As a chic Greenwich village lesbian named Theo, whose couture is designed by Mary Quant, Claire Bloom is a knockout in Robert Wise’s 1963 movie “The Haunting”.
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A savage indictment of the waning British class system, it’s one of the most chilling films ever made. Winner of Best Screenplay of 1964 from the NYFCC.
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An actor of unusual sensitivity, James Fox is an easy actor to queer-code, and he is mentioned twice in this essay and once in the next. No matter, his scenes with Segal have a beauty about them, a longing that every gay man can recognize.
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Great fun was had by all adapting Evelyn Waugh’s 1948 short satirical novel about the funeral business in Los Angeles.
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A true breakthrough and a film that has improved with age. Documentary filmmaker Shirley Clarke interviews gay African American hustler and aspiring cabaret performer Jason Holliday in his apartment at the Hotel Chelsea.
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Alternating between color and black‑and‑white, the film achieves a dreamlike quality that contrasts with the horrors unfolding onscreen. Yet Anderson also threads in humor and tenderness, most notably in the sweet, understated love story between Wallace and Bobby, who share kisses and occasionally a bed.
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John Schlesinger’s American debut is only X-rated movie to win Best Picture. It boasts two great performances courtesy of Jon Voight and Dustin Hoffmann.
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..but it is Hershey who is really stunning as the manipulative Sandy. Then, into their lives wanders Rhoda (Oscar nominee Cathy Burns)…
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Using humor and irony to critique prejudice, injustice and the destruction of Native American communities, “Little Big Man” is, together with “Bonnie and Clyde”, Arthur Penn’s best film. It helped redefine the Western genre, paving the way for more nuanced depictions of Native Americans.
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“The Boys in the Band” was a cultural milestone. As the AIDS epidemic approached, the lives of the actors involved was a collective tragedy.
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In “Sunday Bloody Sunday”, Murray Head plays a free-spirited bisexual who is having simultaneous relationships with Glenda Jackson and Peter Finch. Finch’s closing monologue, delivered directly to the camera—“I am happy, apart from missing him”—is one of the great grace notes in queer film history: tender, dignified, and devastating in its simplicity. It is also one of the finest pieces of acting ever captured on film.
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Another example of a gay character whose sole purpose in the movie is to be killed. Still, Zinnemmann and Rodgers treat his character with a modicum of respect.
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The second scene is where the boys are horsing around and, wouldn’t you know it, they almost start pounding one another. Very sexy.
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In “Barry Lyndon” there is a moment where Ryan O’Neal finds two soldiers naked and holding hands in a pond as they confess their love for one another.
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His life becomes a kind of performance art and Hurt is phenomenal. One of the great queer performances as one of the great Queers.
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Italian director Dario Argento’s supernatural horror sensation! Jessica Harper is a ballet student whose school is a front for a coven of lesbian witches.
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Ettore Scola’s beautiful two-hander stars one of the Silver Screen’s great romantic couples – THE KING AND QUEEN OF ITALIAN CINEMA. Their megawatt star presence and memories of their previous work together in Yesterday, Today and Tomorrow and Marriage Italian Style permeate their characters.
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